Amelie from Montmartre (Original Soundtrack)

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Most Helpful Customer Reviews

This cd is a perfect companion to what was without doubt the best foreign film of last year. Yann Tiersen, the composer, has majestically conjured up a delightful album. He plays all the instruments himself to conjure up something magical. The tracks are so uplifting that listening to them I feel great.

I saw Amelie last November and fell in love with it. I've done the same with the soundtrack. I love the soundtrack because I feel swept away with its joyfulness and emotional aspect. There are nice touches with two songs from the 30's "Guilty" and "Si Tu N'etais Pas La". My favourite track is "Comptine D'un Autre Ete" because it says so much in such a short playing time and it epitamises the mood of the movie.

This soundtrack is possibly my favourite of all time. It is truly a wonderful musical world.

Here we have not only a great soundtrack that can conjure both the magic of the film and work as an excellent album in it's own-right, but also, we have a perfect introduction to one of the greatest young composers world music has to offer.Yann Tiersen had already produced three albums before he was approached by director Jean-Pierre Jeunet to compose the music to his new film Amelie (which had juxtaposing themes of playful giddiness and bitter melancholy that seemed perfectly suited to the kind of music that Tiersen creates so effortlessly), and the recording of these songs overlapped with the writing and recording of his forth solo-album proper, L'Absent. As a result of this, a number of tracks found in instrumental versions here (Les Jours Tristes, A Quai, Le Moulin) can be found fleshed out on L'Absent (...Tristes for example is turned into a great melancholic pop song with vocals from Neil Hannon).If you have heard any of these Tiersen solo-albums or, in fact, seen Jeunet's film, you will undoubtedly have a good idea what to expect from the style of music featured. Tiersen creates tuneful, melodious little pieces thick with atmosphere & grace, employing a wide range of both contemporary and traditional instrumentation (all of which he plays himself) from guitars, drums and bass, to strings, accordions, pianos, harpsichord, music-boxes, & more. The compositions are practically overflowing with the feelings of ecstatic excitement or downbeat romanticism, as Tiersen manages to convey a mood that captures the essence of the film and holds the listener in a trance for it's entirety.This is one of the best soundtrack albums available (up there with some of Michael Nyman's very best) and, if you appreciate the musical greatness of this, then might I suggest that you track down Tiersen's other studio albums, and his soundtrack to that excellent German film, Goodbye Lenin! ...all of which, are excellent.

I was already familiar with Yann Tiersen due to his collaboration with the Divine Comedy (One of the tracks here is co-written by Neil Hannon), and having heard him on Radio 3. I already had one of his albums before buying this (which I did before seeing the film, which, incidentally, is the best cinematic experience I've had for a couple of years), and in fact a few of the tracks on this album are from previous albums, so it can serve as a nice compilation for those already familiar with his work, or indeed, those who aren't. If you're interested in finding out more about Tiersen, I'd encourage you to visit his website, which has plenty of audio material, and even interactive videos. As for the music, it ranges from the depths of despair and loneliness in 'Le Moulin' from the upbeat, energetic and joyous 'A Quai', and of course the Waltz of our eponymous heroine. A brilliant album to bring happiness to even the most weary of souls.

It took me a while to get around to watch the film, so long in fact, that I was already familiar with the soundtrack (much of which appears on his other albums), having fallen in love with Yann Tiersen's work a couple of months before. As a result, I had a much greater awareness of the soundtrack and the effect that it had.Very Gallic in its sound, it uses what could be considered 'traditional' French-sounding instruments, such as the accordion and the harpsichord, along with a plethora of others (the banjo, bass guitar, vibraphone, and of course, the piano), and a couple of unusual ones too. The concept of using the tapping of a typewriter to keep the beat ('Pas Si Simple') and ending a song with the gentle clicking wind of a bicycle wheel ('La Dispute') may seem very odd ones, but are strangely effective, and along with the rest of this beautifully-crafted soundtrack, are highly evocative of the world that the film entices the audience into.Two of the tracks were not written by Yann Tiersen ('Guilty' and 'Si Tu N'Etais Pas La'), but with their dreamy-sounding vocals, these 1930s-esque tracks not only fit in very well with the tone of the album, they make you want to get up and dance with someone.Standout tracks for me on this CD are the bouncy 'J'y Suis Jamais Alle' and 'Le Valse Des Monstres', the melancholy 'Le Moulin' and 'Comptine D'Un Autre Ete' and the simply perfect 'La Valse d'Amelie'.Listen to this album a few times and it will get under your skin. This is one of my favourite soundtracks of all time, both as accompaniment to a brilliant film and as an original, captivating piece of its music in its own right. It doesn't matter whether you see the film before listening to the soundtrack, or vice versa, as long as you do both.